This book documents a recent collaborative exhibition of Per Kirkeby (born 1938) and Lawrence Weiner (born 1942). Kirkeby presented two new brick stone sculptures built in situ at the gallery space, while Weiner exhibited new and recent text pieces mounted on the gallery walls as well as on the inside walls of one of Kirkeby's sculptures.

Published by Zédélé Editions/Reprint collection.

In 1972, Lawrence Weiner (born 1942) published his ninth artist's book: Green as Well as Blue as Well as Red. "The book came about because of an exhibition of the work at Jack Wendler's gallery in London," writes Weiner. "I asked Jack if he would make a book & he said yes. He found a printer and the book was made."

Written on the Wind

Lawrence Weiner (born 1942) began his career as an artist in the early 1960s, traveling across the U.S., Mexico, Canada and eventually to Europe, furnishing himself with an ad hoc education on the way. He soon turned away from any conception of art as requiring a production of objects and focused instead on constructing new ways of perceiving language. Today, Weiner works with almost any medium, from books and movies to public and private installations, on grand and small scales. Throughout, drawing has been a core practice, and Written on the Wind comprehensively documents his works on paper for the first time, including installation plans, book layouts, notes and technical drawings. In collaboration with book designer Filiep Tacq, Weiner has designed a plate section for the volume that consists of more than 120 drawings presented within sequences of gestural graphics to provide a narrative, “drawn” chapter.

Published by Walther König, Köln.Edited and with text by Thomas Kellein.

This handsome catalogue documents The Grace of a Gesture, Lawrence Weiner’s contribution to the 2013 Venice Biennale. Weiner’s text installation was presented on the ground floor of the Palazzo Bembo near the Rialto Bridgea and also included a multilingual text installed on five public boats.

Published by Hatje Cantz.Text by Gabriele Wix.

One of Conceptual art’s most popular and iconic protagonists, Lawrence Weiner (born 1942) has stood as a pioneer for practitioners of language-based art for the last 40 years. His philosophical aphorisms, poetical declarations, idle observations and casual musings, and his appropriation of the art catalogue as artist’s book, have proved enduringly influential strategies. About 300 of Weiner’s works--whose total oeuvre to date comprises more than 1,000 works--have been presented only in German, in the German-speaking world (either translated by Weiner himself or conceived by him in German). Featuring over 800 pieces, this volume is the first catalogue raisonné of those works. As always, Weiner has assumed responsibility for the book’s typography and design. Accompanying text and visual documents shed light on his methods.

100 Notes, 100 Thoughts: Documenta Series 008

Published by Hatje Cantz.

For this series, artist Lawrence Weiner has made an artist's book of new statements and instructions, in exactly the same format (A6) and with the same number of pages (24) as his first contribution to Documenta, in 1972.

Published by The Power Plant.Edited by Gregory Burke. Text by Wystan Curnow.

Very red and very shiny, this artist's book--also the catalogue for Lawrence Weiner's show at the Power Plant in Toronto--collects a variety of sentences and statements by the veteran Conceptualist, typeset with Weiner's customary care, and accompanied by a text by poet Wystan Curnow, and an essay by Gregory Burke. It is printed in a limited edition of 900.

Published by Onestar Press.

Lawrence Weiner’s trademark graphic text and sign pieces are here juxtaposed with a few erotic and/or marine-ish photographs. First published in 2003, this artist’s book is now available again in an edition of 600 numbered copies. The first edition was printed all in black. The new one is all in blue.

Published by Hatje Cantz.Edited by Gregor Stemmrich and Gerti Fietzek.

Lawrence Weiner's art uses language in reference to materials. Language itself is a material and at the same time a means of presentation of his work. Weiner evolved this approach in the context of the Conceptual art of the late 60s, yet he does not see his own work as “conceptual.” The “space” he works within is the entire cultural context, and his works are associated with various different media and forms of presentation: books, posters, videos, films, records, drawings, multiples, installations indoors and outdoors, and more. Since his earliest days as a professional artist, Weiner has given written and verbal expression to questions concerning his work and its context. These utterances--statements, interviews, lectures and conference contributions--have been collected together in this publication for the first time, and ordered chronologically. Taken as a whole they afford an insight both into a complex individual biography and into the wider development of art and culture and the challenge that this entails.

Published by Hatje Cantz.Essays by Gijs van Tuyl and Lawrence Weiner.

During the 1970s, Lawrence Weiner began to inscribe his works directly onto the walls of galleries and exhibition spaces. He had already been sending out his work on postcards, publishing it in newspapers, or replicating it on matchboxes. For this installation at the Kunstmuseum Wolfsburg, Weiner conceived a work that deals with colors and the immateriality of light. He drew his inspiration from the play of green, yellow, red, and violet of the Northern Lights. Stripes in these colors were applied to each of the gallery's walls, while the writing appears only in white. Weiner's work does more than simply reflect a natural phenomenon: among other things Bent and Broken Shafts of Light generates a complex interplay of different levels of perception in the viewer reading the texts in the exhibition space. This artist's book shows all the walls realized for this project, as well as earlier works both indoors and ouside in the open air.

Conceptual Art pioneer Lawrence Weiner has vastly extended and rewritten the notion of sculpture--language is his medium, and his sculpture is text. In Weiner's mind, it is of no importance whether or not a work is ''realized''--it is entirely up to the ''reader'' of a work of art whether and how she will implement the work in her own head. Beyond this, a work can be ''realized'' in many forms--since 1968, Weiner has been publishing his language-oriented works in book form. The artist's book After All was commissioned by the Guggenheim Berlin and features drawings, texts, and plans for an installation consisting mainly of dual language inscriptions on exhibition walls. The book is dedicated to the exploration of the microcosmic and macrocosmic levels of the world we inhabit, and draws its inspiration from the naturalist and explorer Alexander von Humboldt and his endeavor to describe and categorize the whole world. A unique and impressive artist's book from one of our great artistic visionaries, After All takes a deep look at the human urge to classify and the modern will-to-truth.

Published by Dia Art Foundation.Artwork by Lawrence Weiner.

Bound in eye-catching silver cloth, Displacement is a superbly designed artist's book recording Weiner's 1992 show at the Dia Center for the Arts in New York--one of his greatest exhibitions, remembered fondly to this day. It is constituted primarily of Weiner's classic typographic settings, carefully composed for the page, with a sequence of installation shots and a brief commentary on the book and exhibition by Gary Garrels. The interdependence between book and exhibition, which is a motif of Weiner's career, here finds concise expression in a volume that is a treat to move through.